Director:
Luk Tin Wah (陸天華)
Creative Producer: Stella Choi (蔡淑賢)
Script Supervisor: Alex Pau (鮑偉聰)
Cast:
Maggie Cheung ( 張可頤),
Prudence Liew (劉美君),
Savio Tsang (曾偉權),
Poon Chan Leung (潘燦良),
Lam Lei (林利),
Zac Koo (高皓正),
Queena Chan (陳丹丹),
May Tse (謝月美),
Mimi Kung (龔慈恩),
Wilson Tsui (艾威),
Oscar Chan (陳堃), Janice Ting (丁樂鍶),
Leung King Ping (梁健平),
Emily Wong (王歌慧)
First off, a ‘disclaimer’ of sorts – if you’re looking
for a detailed analysis of the Mainland vs HK conflict depicted in the series,
then this review definitely won’t be what you’re looking for. In the
course of relaying my thoughts on the series, I might touch on a few Mainland
vs HK related issues, but it will only be surface-level stuff, since I’m really
not interested in a ‘heavy’ discussion about political, economic, and/or social
issues.
Second….as I do with all my reviews, I usually throw it
out there first that my review won’t be ‘all-inclusive’ – meaning that it won’t
cover every single opinion or thought I had about the series nor will it cover
all angles. I basically focus on a few things that I feel like talking
about and move on from there. Oh and I’m also a bit forgetful and
since I’m writing this purely based off memory, I may forget to include some
things that I had originally wanted to include…so please bear with me if there
are things I don’t cover in this review that might be important or if I’m not
as thorough as I could be.
Ok, so now onto the review (which is technically a
‘hodge-podge’ of my general thoughts on the series)…
For starters, let me just say that TBONTB is one of the
best series I’ve seen in recent years (I’m talking about HK series only
here). With the overload of mediocre fare that the ‘other’ station has
been churning out the past decade, it’s refreshing to finally watch a series
that does a great job with all the elements I care about in a series (i.e.:
script, cast, acting, pace, aesthetics, etc.). Most of the series
nowadays are usually lacking in one or more (and sometimes even all) of these
elements, to the point that sometimes I feel as though the production teams of
those series don’t actually care about making a quality series, rather they
just hastily throw something together to meet a deadline. So yes, I
definitely applaud the HKTV production team for taking the opposite approach
and putting such a sincere effort into making a high quality ‘worth your time
watching’ series.
Of course, no series is without flaws and despite how
much I enjoyed this series, there were definitely a few things that annoyed me
(which I will talk more about later). Overall though, this is one series
that I highly recommend watching (and when I say ‘watching’, I mean actually
paying attention to each scene and each episode rather than merely ‘listening’
to the series like most of us might be used to doing with TVB’s series).
What you get out of the series may be different from what I got out of it, but
one thing I’m pretty sure of is that you will find something to enjoy about
this series.
.****
In
my opinion, one of the biggest contributing factors to this series’ success
lies in the meticulous effort that was put into the 3 critical elements that
make up most series: the cast / acting,
the script / storyline, and the aesthetics (aka production value, visuals,
etc.). With that said, it is only appropriate
that this review covers these 3 areas:
The Script / Storyline / Plot
In
recent years, I’ve lost a lot of faith in HK’s television series. The lack of talent and the acting of the
newer generation not being up to par are both contributing factors, but the
main reason is because of the lack of decently written scripts. As a writer myself, when I watch series, I
instinctively pay more attention to the script (storyline, plot, character
development, etc.) than to the acting itself and within the past decade, I’ve
been ‘disappointed’ with poorly written scripts more times than I care to
count. It actually got to the point
where I was even thinking about giving up on HK television series because I
felt like I was wasting my time watching crappy production after crappy
production (I can’t even count how many TV series I was actually able to finish
watching the past couple years – most were so bad that I would just abandon
ship a few episodes in).
Well,
that has all changed now with the launch of HKTV. So far, the 3 series that they’ve aired (The
Borderline, The Election, and To Be or Not To Be) have something
that TVB series have lacked the past couple years: well-written scripts! Since this review is on TBONTB, I will focus
only on that series here (though I HAVE commented on the other 2 series’
scripts in other forums).
Now,
with this review, I don’t intend on launching into a detailed discussion of all
the differences between TVB and HKTV when it comes to scriptwriting (if you
really want to know, then read my previous 2 posts recapping the CRHK interview
with HKTV’s scriptwriters, as the process is described in detail there). However, I do want to talk about a few
important differences that were apparent in TBONTB’s script, as I strongly feel
that these ‘differences’ form the crux of why this series has been getting such
great feedback (and why I feel that this is one of the best-written series I’ve
seen in a long time).
In
a recent interview, TBONTB’s main scriptwriter Alex Pau talked about how the
idea for this series came about and described the writing process for the
series. One of the things he said that
really stuck with me is that, at HKTV, the script is the ‘main driver’ of the
entire production – everything revolves around the script and everyone’s goal
is to successfully bring the script to fruition. This means that NO ONE is allowed to
interfere with the script or change it in any way except the scriptwriter
him/herself – the job of all the other departments (i.e. artists department,
HR, sales and marketing, etc.), the artists filming the series, the director/producer
of the series, and even the management team (i.e. Ricky Wong, To Wai Bing,
etc.) is to give the scriptwriter their full COOPERATION. This ‘no interference’ mandate is part of
Ricky Wong’s promise of ‘complete creative freedom’ to his production
team.
After
watching TBONTB, it’s obvious that the script reflected this ‘creative freedom’
philosophy. The entire series truly
revolved around the script and didn’t stray off into a bunch of different
sub-plots / sub-stories that had nothing to do with the main story whatsoever
(the only ‘sub-story’ in the series was the younger generation storyline, which
I don’t consider as straying completely from the main storyline, since it does
revolve around the HK/Mainland conflict).
Every character in the series has their specific role to play and when
they are done, they retreat – there is very little ‘overusing’ of certain
characters or having unnecessary characters in there who have no significance
except to stand around and do nothing.
In addition, the dialogue was very well-written and did not ‘hold back’
at all – the scriptwriters incorporated whatever dialogue they needed to get
the message across…there was no ‘censoring’ of the dialogue to avoid offending
certain people or certain organizations.
This was especially important considering the topic that the series
revolved around: the HK/Mainland
conflict. The script simply laid out all
the facts surrounding this conflict, without bias and without ‘taking sides’,
and left it up to the audience to relate to the series in the way that worked
best for them (in other words, the series causes us audiences to think and
reflect, but it doesn’t try to ‘force’ us to think in a certain way or certain
direction…as long as the series triggers thought, that is already enough). The same can also be said about character
development – practically all of the main characters in the series are
thoroughly developed and there is not one character that ‘trumps’ the other (I
felt like both Mei Tin and Mei Hang’s stories were adequately covered and one
wasn’t dominant over the other). Lastly,
and most importantly, the script was tightly written and didn’t drag – the
story was told the way it needed to be told and that’s it…I didn’t get the
feeling that the director/writers were trying to meet a certain ‘quota’ or
cater to certain people with the script.
This
is in stark contrast to the ‘TVB way’ where it’s oftentimes too obvious that
the ‘politics’ dictate the direction of the series, not the script. For instance – quite often when I’m watching
a TVB series, I feel like some characters are thrown into the series for no
good reason or certain characters are more developed than others, resulting in
an awkward imbalance -- to the point that sometimes I can’t help but think whether
the execs had the producers/scriptwriters incorporate those characters in order
to promote certain artists. Oh and I’m
sure we’ve all complained at one point or another about TVB series being draggy
and incorporating unnecessary story arcs that have nothing to do with
anything. With all 3 of HKTV’s series so
far, I don’t get this feeling at all! To
me, HKTV is doing all the right things (so far) when it comes to the script,
which is refreshing to see. Of course,
the scripts will never be perfect and truth be told, there were definitely
flaws in TBONTB’s script as well – but at least HKTV is putting in the effort
to make things different rather than sticking to the safe, convenient, and
conventional route…so I’m willing to overlook these flaws.
The Aesthetics
Obviously
one of the biggest things that sets HKTV’s series apart from TVB’s is what I
like to call “the aesthetics” – basically the use of high quality,
Hollywood-style filming equipment as well as the 100% real location filming of
every single scene. I’ve said this
before (numerous times) and I’ll say it again – any consummate actor/actress
will tell you how much of a difference it makes to film in a real-life location
rather than on a fake set inside a studio.
Ok, I know what some people are going to say – a lot of American series
film on fake sets inside a studio too, so I shouldn’t pick on TVB for choosing
to do the same thing. Well, let’s not
forget that the management over at TVB are super-duper cheap tightwads and so
are definitely NOT going to invest the huge amounts of money that many of the
Hollywood studios do to make their sets look realistic and different (how many
times have you seen the same fake set in every TVB series? I mean, even when they try to make the set
look different, it still ends up looking the same…oh and don’t even get me
started on the costumes and props). I
don’t care what TVB tries to say otherwise – as an audience member watching a
series, the real location filming ABSOLUTELY makes a difference, as it adds to
the visual enjoyment of the series.
Nothing beats getting to look at beautiful, breath-taking scenery that
is so realistic that it makes us feel as though we are right there with the
artists in that same scene!
With
TBONTB, the aesthetics was especially important due to the historical aspect of
the series. Since the timeframe of the series
is spread over a period of 30 to 40 years, it was definitely important to make
sure the scenery reflected the different eras – especially the earlier scenes
and flashbacks back to the Hakka village.
The production team did a great job in this area, as I was completely
sold on the realistic scenery, plus it helped me immerse myself in the story,
particularly the flashback stories involving the 2 sisters, their parents, Siu
Sa and his family, etc.
The Cast / Acting
There’s
a lot to be said about the cast of this series – I won’t go into detail about
every single character, but there a few main ones that absolutely deserve
mention.
First, the women….
Before
I go further, I find it necessary to give a brief summary of the 2 sisters’
backgrounds, as this forms the premise of the series and is essentially the
catalyst that launches the entire story:
The story starts with the 2
sisters as children (played by child actresses Moon Chan and Suki Lam), born
and raised in a Hakka village in rural China.
Their mother Siu Suk Wai (played by former TVB actress Mimi Kung) is a
school teacher who loses her husband at a young age and so must raise her
daughters alone in the village. When Suk
Wai’s mother Granny Kam (played by veteran actress May Tse) returns to the
village from Hong Kong to visit her daughter and grandkids, they decide that it
is in the best interest of the girls to have them grow up in HK rather than in
the village. Unfortunately, immigration
to HK wasn’t that easy back then and since Granny would only be able to get 1
visa approved, it meant that only 1 of the sisters could accompany her back to
HK – the other sister would have to stay back in the village and wait until
additional visas could be approved. It
was decided that the older sister Mei Tin would accompany Granny back to HK,
since she was more mature and could better take care of herself. Not wanting to be separated from the older
sister who has always loved and protected her, Mei Hang is upset and saddened
at the arrangements. An unfortunate
incident happens (I won’t go into detail – you’ll have to watch the series to
find out details) that causes the mother Suk Wai to change the arrangements and
have her younger daughter Mei Hang go to HK instead. When Mei Tin wakes up on the morning she is
supposed to leave, she discovers that the visa is gone and rushes outside, only
to see her mother helping Mei Hang into the car with Granny. As the car leaves, she chases after it,
crying and pleading not to leave her behind – unfortunately, the car drives
away and she is helpless to do anything except watch and cry profusely. After that, the story cuts to 30 years later
when the sisters are all grown up and leading separate lives: in HK, younger sister Mei Hang (played by
Maggie Cheung), who is educated overseas and so goes by the Western name Anson,
is the ‘stereotypical HK girl’ (we call it ‘gong niu’ in Cantonese) who is self-centered,
defiant, bossy, and looks down upon all things Mainland….she is an extremely
successful public relations expert and has a (soon to be fiancé) boyfriend
named Hill (played by award-winning theater actor Poon Chan Leung) who works at
the same company. Mei Tin (played by Prudence
Liew), on the other hand, has become a wealthy socialite in the Mainland who
became affluent through her own smarts and hard work – she owns a restaurant
chain in Dongguan and lives in a big expensive mansion with her husband Cheung Kwok
Cheung (played by Savio Tsang)….Mei Tin is smart and has a strong personality
as well as great social skills, which not only help her accumulate massive
wealth, but also an abundance of connections all across China. Against this backdrop, the sisters reunite and
various conflicts ensue due to their vastly different upbringing, background,
socio-economic status, etc.
Leung Mei Tin (Prudence
Liew): Prudence’s portrayal of the strong,
level-headed older sister Mei Tin was ‘perfect’ in my book. She absolutely put in a performance worthy of
her ‘movie queen’ (Golden Horse Best Actress winner) status and truly brought
the character of Leung Mei Tin to life!
Savio Tsang’s character Cheung Kwok Cheung put it best when he said that
Mei Tin had “the Hakka woman’s natural ability to prop up half the sky with her
bare hands” – throughout her life, she faced every situation head-on and never
let anyone or anything take her down. No
matter what type of ordeal/hardship/obstacle she faced, whether as a child or
adult, she always managed to take it all in stride, maintaining her optimism
and positive attitude. Whenever any
problem came up with anyone, she would step in to help resolve it (though
unfortunately, she didn’t always get the same support back from others). It was almost as though Mei Tin was born to
be the ‘protector’, taking care of her loved ones regardless of whether they
had wronged her – from the beginning of the series to the very end, she never
stopped playing this role.
I
don’t think it should come as any surprise that Mei Tin was actually one of my
favorite female characters in the series – I was moved by her strength, her
dedication and loyalty to her loved ones, her perseverance, her positive
attitude, etc….basically way too many traits to list! Mei Tin had her flaws of course and some of
the things she did weren’t exactly the most admirable, but in the grand scheme
of things, she did what she had to do given the circumstances. There were a few decisions she made that I
didn’t necessarily agree with, but in the end, things worked out.
I
actually never saw any of Prudence’s previous works as an actress (no, I didn’t
watch the movie that she won Best Actress for, though I heard she was very good
in it), since I grew up in the 80s knowing her as a singer. I recall that she was in a few movies in the
past and even a few TV series (and also hosted a few music-related shows), but
I always thought that her forte was in singing (which is still true to some extent,
as she sang the theme song for TBONTB and did a great job with song). Definitely an impressive performance and now
I’m actually looking forward to seeing more of Prudence’s works in the future!
Leung Mei Hang/Anson
(Maggie Cheung Ho Yee): Maggie’s portrayal of the
bossy, self-centered younger sister Anson Leung was also quite impressive. On the surface, the character of Anson seems
very similar to the roles that Maggie used to play at TVB (the strong, feisty,
demanding woman type roles), but if you actually watch the entire series, you
will realize that Anson is quite different from Maggie’s previous roles. Looking deeper, Anson is actually a very
well-developed character – a very realistic human being who, though not a bad
person, has so many faults that sometimes I wonder how anyone was able to get
along with her. Of course, we see later
on in the series that Anson does have a ‘soft’ side, it’s just that she
suppresses it more often than not due to past experiences – plus as a business
woman in modern society, she has to constantly put up a strong front in order
to succeed. Despite her many flaws, one
of the things I did like about Anson was her persistence – she always knew what
she wanted in life and her strong personality stayed consistent throughout the
entire series. True, she was less
self-centered at the end, as she finally learns how to accept other people’s
differences and embrace her own roots, but at no point in the series did she
appear ‘weak’ – whether at work or in all her relationships, she was obviously
always the dominant one, which wasn’t necessarily a bad thing as long as her
other half was okay with it.
Interestingly
enough, I actually never really liked Maggie until TBONTB. Now don’t get me wrong – Maggie has always
been a solid actress in my book and there’s no doubt that she has good acting
skills, but for some reason, I never really enjoyed any of her previous
performances at TVB. Perhaps it’s
because most of her past roles were not well-developed enough…or perhaps, as
Maggie herself has said in recent interviews, this is the first time in her
acting career that she actually received a 100% complete script way in advance
of filming, so it allowed her to thoroughly study her character and immerse
herself in her role, resulting in such a meticulous performance. Or perhaps it is the good chemistry she had
with Poon Chan Leung and Prudence Liew that also brought out the best in her
own performance. Whatever the case,
Maggie did a great job and was able to not only hold her own, but also match
her co-stars skill for skill.
From
an acting perspective, both Prudence and Maggie were FANTASTIC!! The emotional scenes, especially in the
latter half of the series, were done extremely well – both ladies were very
natural and convincing in those scenes….there were no weirdly distorted facial
expressions, no OTT yelling and screaming, the crying didn’t feel forced or
fake (unlike other so-called actresses nowadays who can’t seem to do emotional
scenes without coming across fake and exaggerated). Prudence and Maggie were absolutely the
‘pillars’ of the series and definitely deserve all the praise they’ve been
getting for a job very well done!
Isabella Zhang (Queena
Chan): Remember earlier in this review I had
mentioned that there were a few things that ‘annoyed’ me about this
series? Well, Isabella was definitely
one of those ‘annoyances’. Actually,
maybe I should clarify – I found the character of Isabella a bit annoying
overall, but I can understand that the character was necessary to the
development of the plot, especially with the whole ‘mistress from the Mainland’
story arc (albeit a tad bit overused). But
to be honest, the ‘character’ of Isabella wasn’t as annoying as the actress who
played her: Queena Chan. Queena’s acting was quite bad – from her
shrill voice to her accented Cantonese to her contorted facial expressions to
the weird way she said her dialogue – I honestly could not find a single thing
to like about her. Unfortunately, as the
series progressed, she got more and more annoying, to the point that I just
wanted her to go away and never come back (this may sound mean, but I’m glad
that the writers did ‘get rid of her’ in the end). She was the ‘most hated’ character in this
series for me.
I
actually had no clue who Queena was prior to watching this series and I still
don’t know too much about her even now, which, of course, is fine with me. In the various articles I had skimmed through
about the series, I recall reading that Queena also used to work for TVB but
mostly had bit parts in series – Isabella was her first ‘meaty’ role. After seeing her performance in this series,
I can understand why her acting career (if we can even call it that) never made
it far. It’s unfortunate, but Isabella
(both the character and the actress) was definitely one of the few ‘blemishes’
in this otherwise great series!
Yau Kam Por / Grandma (May
Tse): As the maternal grandmother, Kam Por was
essentially the ‘link’ that kept the 2 sisters in contact with each other – if
it wasn’t for her, the relationship between the 2 sisters would have been
virtually nonexistent, so her role was definitely critical. Actually, when we look at the 2 sisters, it’s
easy to understand where they got their ‘strong streak’ from – the grandmother
herself had a tough life, as she had to raise her daughter on her own when her
husband walked out on them many years ago and married someone else – then,
after her husband died, she actually sought out and took care of her husband’s
children with his second wife, only to have them abandon her once they became
adults. With all that she had been
through, it came as no surprise that she had to develop a tough personality –
but that ‘toughness’ was only towards those who tried to bully her or her
family members…towards her family (her daughter and grand-daughters), she was
just like any other elderly parent / grand-parent – loving and doting but at
times argumentative.
Kam
Por also provided a lot of ‘comic relief’ in the series, especially in all
those scenes with Zac Koo’s character Siu Sa (their bickering scenes were
hilarious!). Though she did not have a
tremendous amount of screen time in the overall scheme of things, Auntie May
put in a solid performance – she was witty, fun, and very natural with her
acting. While it’s true that she played the usual ‘see
lai’ type role that she used to do at TVB or in theater works, she’s good at it
and that’s what counts the most!
Siu Suk Wai (Mimi Kung): Playing the mother of the 2 sisters, Mimi
only had a cameo appearance in the first episode (though she was also in a few
flashback scenes throughout the series).
Despite her brief appearance, Mimi already left quite an impression with
her acting. It had been a long time
since I’d seen Mimi onscreen, so my memory of her acting was still back during
the height of her career in the 80s when she was a young fa dan at TVB. Her acting back then was pretty decent, but
not ‘impressive’ enough to stand out amongst all the talented actresses of that
era. It makes sense that she is taking
on more mature roles now that she is older and a mother in real life – I just
didn’t realize how good her acting had gotten since I hadn’t seen much of her
onscreen in recent years. Mimi is also
in The
Election as well, but her role in there is relatively less significant
(even though she has more screen time) compared to TBONTB. Good job so far!
Lana (Janice Ting) &
Lennon (Emily Wong): Both Lana and Lennon
represent the younger generation in HK, though their aspirations and
personalities are so opposite. Lana was
Anson’s colleague at the PR company where they both worked, then later when
Anson decided to venture out on her own, Lana decided to leave with her,
becoming her assistant at the new company.
Lennon is a student who spends most of her time participating in rallies
and events that protest against the injustices in society. Both of them are also indirect love rivals,
as Lana’s boyfriend Jacky (Oscar Chan) had joined some of the protests with the
alternate identity ‘Headless Knight’ and Lennon was one of his biggest
admirers. I won’t go into much detail on
how the sub-story of the younger generation develops, as I’ve felt from the beginning
that this sub-story – though relevant to the plot – did not deserve as much
screen time as it got (the ‘random-ness’ of some of these scenes detracted from
the series a bit -- this was another one of the ‘annoyances’ that I had
mentioned earlier). I get that
Lana/Jacky/Lennon story arc was added to reflect current events as well as
further emphasize the Mainland/HK disparity, but honestly, the storyline
involving the 2 sisters is already more than sufficient to cover both of those
areas. I’m fine with having the
characters of Lana and Lennon (and Jacky) ‘exist’ in the series and referred to
briefly perhaps, but I definitely wish the sub-story was much shorter!
Next, the men….
Au Yeung Shan / Hill (Poon
Chan Leung): If Anson represented the stereotypical ‘gong
nui’ (HK girl), then Hill definitely represented her counterpart, the
stereotypical ‘gong nam’ (HK guy) – charming, charismatic, well-spoken (in the
sense that he is good with words and is a sweet-talker), etc. He has high adaptability skills (which helps
him adapt well to whatever environment he is in) and tries to ‘be all things to
all people’ -- meaning that he tries to please everyone, acquaintances and
strangers alike, but especially the ladies (which obviously makes it more
difficult for him to maintain stable, long-term relationships, since he’s more
susceptible to ‘temptations’ given his personality). Basically, when it comes to relationships, he
is very non-committal, but when it comes to work, he is very much competent.
From
an acting perspective, the character of Hill is not easy to portray at all and
if not done correctly, the results could be ‘disastrous’ – which is why I’m
glad that they (the scriptwriter, director, etc.) decided to cast Poon Chan
Leung in this role because he absolutely NAILED IT!! This may have been Poon Chan Leung’s first
time filming a television series, but it was actually very hard to tell that he
was a ‘newbie’ to the TV industry due to his great performance. Obviously, Poon Chan Leung’s meticulous
acting skills can be attributed to his nearly 20 years of experience as a
stage/theater actor (and let’s not forget that he is an award-winning actor as
well, since he has several Best Actor in theater trophies under his belt). I’ve always had a certain respect for theater
actors/actresses because I know that acting-wise, they rarely disappoint (which
is one reason why I have an affinity for artists who came from the HK Academy
of Performing Arts, such as Power Chan, Sunny Chan, Rain Lau, Louisa So,
etc.). I definitely enjoyed Poon Chan
Leung’s performance and in my opinion, no one could have portrayed Hill as good
as he did -- by the end of the series, I was truly starting to understand why
all the ladies would be put on by Hill’s charms as well as why Anson would fall
for him again and again, despite all the ‘pain’ he put her through (i.e.: jilting
her at the alter and also cheating on her).
Oh and I’ve got to be honest: Poon
Chan Leung and Maggie Cheung had AWESOME chemistry together -- I couldn’t help
‘rooting’ for this couple throughout the series, even though I knew I shouldn’t
because Hill totally didn’t deserve Anson after the detestable way he treated
her. I’m actually looking forward to
(more like hoping for) another collaboration between these 2 in the near
future!
Cheung Tai Loi / Siu Sa
(Zac Koo): Siu Sa was one of the most interesting
characters in this series. I will admit
that when he first appeared, I actually thought that there was something wrong
with him mentally, as the story of his past and his actions kind of pointed to
this possibility – for example: both parents died tragically and he grew up as
an orphan, he often shuts himself inside his own house with his collection of
‘recyclable’ items, he recites this weird thing about a rocket ship to himself
occasionally, etc. But as the series
progressed, I (along with the rest of the audience) realized that there was
nothing wrong with Siu Sa mentally – in fact, he’s more ‘normal’ than normal,
it’s just that he has a bit of a quirky personality that people who don’t know
him may find odd (ok, his appearance seems a little quirky too, but come to
think of it, he actually dresses the traditional way that most of the men in
the village dressed, but compared to the ‘modern’ style of all the other guys
in this series, he does stick out a bit)….as the saying goes though: one’s outer appearance does not matter as
much – most important is what is on the inside.
Well, if we look at what’s on the inside, then I would have to say that
Siu Sa ‘outshines’ all the rest of the guys in this series! Sure, he can be annoyingly stubborn and
insistent (and persistent too) when it comes to matters that are important to
him, to the point of being a ‘nuisance’ (someone mentioned ‘stalker-ish’ –
though in a good way of course -- in one of the discussion forums, which I
agree with), yet at the same time, he is fiercely loyal and 100% devoted,
especially to the woman he loves.
Actually, he’s quite an endearing character if you ask me! I know that he and Anson might seem like a
‘mis-match’, both in appearance and personality, but I had no problems with the
two of them being together, even though their relationship was brief. After what Anson went through with Hill, one
would think that she would cherish her relationship with a guy like Siu Sa, who
treated her like a queen and was so devoted to her (it was so sweet everything
that he did for her, especially his very last act of selflessly giving Anson back
her freedom, even though he still loved her – and after she hurt him too by
being unfaithful in their relationship)…but I guess when it comes to love and
relationships, it’s hard for things to always be entirely predictable or
conventional. Perhaps it was all for the
better, as I felt that Anson did not deserve someone like Siu Sa anyway….
In
terms of the acting -- Zac Koo was amazing in his portrayal of Siu Sa! I actually didn’t realize that he was such a
good actor (I guess I never really paid attention to his acting in the past,
since he had such relatively small roles in a few TVB series back then) –
admittedly, I was more familiar with him as a host for a number of programs and
as a singer/songwriter (as well as his devout dedication to his Christian
faith). Apparently, he has done movies
and stage plays and participated in a number of commercials as well (geez, what
has he NOT done yet?), so it’s not like acting is new for him – very
multi-talented in my opinion! After
seeing his performance in this series, I’m actually interested in watching his other
works as an actor. I heard that he is in
Once
Upon a Song (the HKTV series currently airing) as well, so I’ll
definitely keep an eye out for him in there.
Cheung Kwok Cheung (Savio
Tsang): In a
nutshell, Kwok Cheung was Mei Tin’s ‘useless husband’. Next to his very capable wife who always
ended up being the one to resolve any problems that occurred (whether big or
small), Kwok Cheung was ridiculously incompetent (though personally, I found it
kind of funny how he would always go running and crying to his wife when he got
himself in trouble – sort of like a little kid who always needed mommy to clean
up his messes). Knowing that he couldn’t
do without his wife, it’s logical to think that Kwok Cheung wouldn’t dare put
his marriage in jeopardy, right?
Wrong! First of all, it turns out
that Kwok Cheung was a ‘wife-beater’ (when he drank too much alcohol, he would
go berserk and beat his wife), which is already ‘unforgivable’ in my book
(sorry dude, but whether you ‘meant’ to do it or it was the influence of the
alcohol doesn’t matter). As if that
weren’t enough, he’s also a ‘cheater’, as he secretly got involved with another
woman who bore him a daughter and supposedly became pregnant with his son (and
he later brings the mistress home too) – such a douchebag! He should get the ‘World’s Worst Husband’
award!! I’m sure most of us female
audiences who were watching were hoping Mei Tin would divorce him right away
(don’t even wait for the ‘third strike’ – he should have been ‘out’ already
with the first strike!)….well, she doesn’t divorce him (though at least she
didn’t stay in the same house with him – she moved out and left him to grovel
in his own misery…that’s better than nothing, I guess). Though he eventually learns his lesson and
goes running back to his wife in the end (because he finds out that the
mistress was ‘using’ him and neither kid was actually his), it’s too little,
too late – Mei Tin doesn’t take him back (good for her!!) and instead starts a
new relationship with Bao Suen (Lam Lei).
Kwok Cheung’s case is definitely a wake-up call for the guys out there –
if you betray and hurt someone often enough, even being married 20+ years isn’t
going to save the relationship!
Savio
is a great actor (hugely underrated though) and his portrayal of Kwok Cheung
was right on point! So far, looks like
he made a good decision to leave TVB and join HKTV, as he hadn’t gotten a
decent role in years from TVB. The 2
HKTV series that he has been in (The Election and TBONTB)
have truly allowed him to show his acting prowess. I think most audiences had largely forgotten
about Savio in recent years due to the lack of decent roles, so both series are
airing at the right time now – hopefully his solid performances in both series
will help ‘resurrect’ his career a bit and help him get the recognition he
rightfully deserves.
Tam Chun Fai / Bao Suen
(Lam Lei): Bao Suen’s background is a bit complicated,
so not going to go into too much detail about that piece. But he is definitely a good match for Mei Tin
in my opinion and I’m pretty happy with the way the scriptwriters wrote his
storyline. Mei Tin certainly deserves a
man who not only loves her and respects her, but most importantly, is capable
of being successful on his own accord. I
was actually quite touched by their relationship line, especially near the end
when Kwok Cheung finally comes to terms with the fact that Bao Suen is better
suited for Mei Tin than himself and withdraws from the relationship, allowing
the two of them to pursue a new life together.
It’s
been years since I’ve seen Lam Lei in a decent role. Ever since he returned to the HK television
industry after a long stint in Taiwan, most of his roles had been relatively
minor or insignificant. Now, I haven’t
seen any of Lam Lei’s series outside of the HK ones, so I can’t comment on how
his acting was in those. But back when
his career in HK was most active in the 80s/early 90s, I actually felt that he
had potential as an actor (I’m sure most TVB old-timers like myself will still
remember his performance in 1990’s Blood of Good and Evil – which, by
the way, is one of the best series TVB ever produced!). Anyway, glad to see that he is making somewhat
of a comeback in the HK market. His
brief cameo appearance in HKTV’s The Borderline (which aired prior to
TBONTB) wasn’t really enough to show his abilities (though the fact that he
played a villain in that series contrasted well with his ‘good guy’ role in
TBONTB), so I’m glad they aired this series right after. He’s also in quite a few of HKTV’s upcoming
series so hopefully we get to see more varied roles for him. [Sidenote: Not sure if anyone else noticed, but 2 of the
3 (technically 4) members of HK’s Little Tigers have been making a comeback in
recent years, not necessarily in singing, but in acting -- Lam Lei has been
filming for HKTV while William Hu (胡渭康) is filming
for TVB. And it’s also interesting that
neither one of them has changed much in appearance – though Lam Lei does look
like he has aged quite a bit…William on the other hand, doesn’t look like he
aged much at all!]
Leung Chan Kong / Uncle
Kong (Wilson Tsui): Wilson’s role seemed
relatively minor on the surface but was actually quite important in the story
arc concerning the whole Mainland vs HK conflict. From the very first scene in the series (when
he’s trying to escape to HK with his girlfriend/wife and even though they
eventually make it, she ends up dying) to the various moments throughout the
series when he’s struggling to live a decent life as a Mainlander in HK but
encounters one obstacle after another – his story closely mirrors history as
well as current life and highlights the vast change that HK has undergone in
the span of 30 years. Wilson played his
role well, as I knew he would, since he has always been a good actor – it’s
just unfortunate that he toiled at TVB for close to 30 years and has nothing
really to show for it. Well, he did a
good job in this series and I’m looking forward to seeing his first lead role
in HKTV’s Hidden Faces (whenever they decide to air that series) – I’m
sure he’ll do fine!
Jacky (Oscar Chan): I talked a bit about Jacky already in the
section about Lana and Lennon above, so no point in rehashing all that. I honestly didn’t see the significance of his
character except to push the ‘younger generation’ sub-story. In fact, I really can’t remember anything
important that he does related to the main story of the 2 sisters (unlike his
girlfriend Lana, who was actually important to the plot). Acting-wise, Oscar was okay, though to be
honest I didn’t pay a whole lot of attention to his scenes so can’t really
comment much.
I
had actually read an interview where Maggie Cheung had mentioned that she had
received all 30 episodes of the script prior to starting filming (which
allowed her to do her homework and immerse herself into the character). Well, we all know that the series was only
25 episodes -- I’m not sure if the magazine that published the article put the
wrong information or there were originally 30 episodes but it got edited down
to 25. If it’s the latter, I’m actually
very curious to know what got edited out – I would’ve preferred that the ‘younger
generation’ storyline got edited out rather than any part of the main story
concerning the 2 sisters. Unfortunately,
we probably will never know….
Concluding Thoughts….
No
review of TBONTB would be complete without mention of the theme song: “Two Cups
of Tea” (兩杯茶) sung by Prudence Liew. The melody of the song is very nice and goes
well with the beautifully written lyrics (by award-winning lyricist Lin Xi) –
not only that, the song complements the series perfectly! I completely agree with what Alex Pau said
about the theme song during his radio interview: Prudence’s style of singing and her voice,
coupled with Lin Xi’s lyrics that reflect the plot of the series perfectly,
take us back to those days in the 80s and 90s when theme songs actually felt ‘connected’
to the series. Back in those days, when
we listen to a series’ theme song, the scenes from the series would instantly
run through our heads. Nowadays, the
theme songs for most series don’t give off the same feeling and instead, seem
to be ‘detached’ from the series (as though the song has nothing to do with the
series at all).
